Filed under book | Tags: · acoustics, architecture, city, noise, sound, sound studies
“Sounds belong to the City. They determine spaces and identities. For years, artists have been using city noises as a material to stage or to question urban space – new territory, however, for most architects and planners within the routines of functional planning procedures. Tuned City – Between Sound and Space Speculation searches for a new evaluation of architectural spaces from the perspective of acoustics. This volume presents various positions of architects, artists and theorists to expand the architectural discourse with the dimension of listening. ”
The English section runs from the page 97-192.
Contributions by Doris Kleilein and Anne Kockelkorn, Barry Blesser and Linda-Ruth Salter, Gisela Herzog and Gerhard Steinke, Susanne Hauser, Thomas Ankersmit, Pascal Amphoux and Grégoire Chelkoff, Raviv Ganchrow, Mark Bain, Arno Brandlhuber and Markus Emde, Michael Bull, Stefan Kölsch, and Jacob Kirkegaard.
Edited by Doris Kleilein, Anne Kockelkorn, Gesine Pagels, and Carsten Stabenow
Publisher Kook Books, Idstein, 2008
Reihe Essay series, 4
ISBN 9783937445366, 3937445366
Filed under proceedings | Tags: · architecture, art, city, place, public art, sound, sound art, sound studies, urbanism
“Our proposal is to increase awareness of the importance of our local and global soundscapes and our role in their experience and design. As listeners, we are also responsible for the shape and beauty of our own soundscape. Therefore, we must open our ears.”
Proceedings from the symposium and exhibition created as part of the 4th edition of Jardins Efémeros (Ephemeral Gardens) festival in Viseu, Portugal, and consisting of 54 paper presentations, 11 artist talks and 54 audioworks.
Edited by Raquel Castro and Miguel Carvalhais
Publisher Jardins Efémeros, Viseu
Filed under book | Tags: · acousmatic sound, aesthetics, electronic music, music, music theory, philosophy of music, sound, sound studies
“Sound coming from outside the field of vision, from somewhere beyond, holds a privileged place in the Western imagination. When separated from their source, sounds seem to manifest transcendent realms, divine powers, or supernatural forces. According to legend, the philosopher Pythagoras lectured to his disciples from behind a veil, and two thousand years later, in the age of absolute music, listeners were similarly fascinated with disembodied sounds, employing various techniques to isolate sounds from their sources. With recording and radio came spatial and temporal separation of sounds from sources, and new ways of composing music.
Sound Unseen explores the phenomenon of acousmatic sound. An unusual and neglected word, “acousmatic” was first introduced into modern parlance in the mid-1960s by avant garde composer of musique concrete music Pierre Schaeffer to describe the experience of hearing a sound without seeing its cause. Working through, and often against, Schaeffer’s ideas, Brian Kane presents a powerful argument for the central yet overlooked role of acousmatic sound in music aesthetics, sound studies, literature, philosophy and the history of the senses. Kane investigates acousmatic sound from a number of methodological perspectives-historical, cultural, philosophical and musical-and provides a framework that makes sense of the many surprising and paradoxical ways that unseen sound has been understood. Finely detailed and thoroughly researched, Sound Unseen pursues unseen sounds through a stunning array of cases-from Bayreuth to Kafka’s “Burrow,” Apollinaire to Zizek, music and metaphysics to architecture and automata, and from Pythagoras to the present-to offer the definitive account of acousmatic sound in theory and practice.
The first major study in English of Pierre Schaeffer’s theory of “acousmatics,” Sound Unseen is an essential text for scholars of philosophy of music, electronic music, sound studies, and the history of the senses.”
Publisher Oxford University Press, 2014